Abstract
Research objective is to provide an analysis of the category of timbre-role in opera, to substantiate timbre-role as a tool for the stage expression of a certain “voice” in the genre of opera. The methodology: psychological and musicological analysis of features of genre communication, immanent creative process and technological vocal specificity of dramatic tenor is the methodological basis and instrument of research; a comparative analysis of the specifics of the creative process of the birth of a stage image in an opera performer and a dramatic actor has been applied for the realization of the tasks of the research. The scientific novelty – for the first time the importance of timbre-role of a certain type of voice as a communicative, psychological and technological instrument in the realization of artistic tasks of the general thesaurus of opera performance is substantiated. Conclusions. Singer’s voice timbre is a way of individualizing and personalizing a vocalstage image, that is, a semantic image is born through an appropriate type of voice. Therefore, the typology of the role of opera in opera is based on the principles of expressiveness and naturalness of voices, which is an indirect embodiment in the vocal art of the principles of the K.S. Stanislavsky realistic theater – the veracity of the stage image in the opera is determined first of all by the correspondence of the performer timbre-role and intonational semantics of the material. Timbre-role – a type of voice that is able to fully express the semantic character of the opera character in the vocal reflection. The timbre-role determines the vocal expression of the character of the hero; the way of his artistic thinking; features of communication with the viewer; is an embodiment of the technological features of a particular type of voice. The timbre-role of the “dramatic tenor” is a type of voice capable of fully expressing the intonational semantics of the semantic image of the hero, who is the center of the dramatic conflict of opera.
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